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När Bok Blir Film… Institutionen för informationsvetenskap Enheten för medier och kommunikation C-uppsats i medie- och kommunikationsvetenskap Framlagd HT 2007 När bok blir film… En jämförande analys av boken och filmen Catch me if you can Författare: Majlinda Juniku Handledare: Amelie Hössjer Majlinda Juniku Uppsala Universitet Medie- och kommunikationsvetenskap C Ht 2007 Abstract Title: When book becomes film... – a comparative analysis of the book and film Catch me if you can (När bok blir till film…En jämförande analys av boken och filmen Catch me if you can ) Number of pages: 46 Author: Majlinda Juniku Tutor: Amelie Hössjer Course: Media and Communication Studies C Period: Autumn term 2007 University: Division of Media and Communication, Department of Information Science, Uppsala University. Purpose/Aim: To study what model of dramaturgy belongs to the film Catch me if you can and to see what has been crossed out, altered and added from the book so the narrative will fit this model. Material/Method: The film Catch me if you can and the book with the same name has been used to analyze the differences between them. I have divided the differences into three categories: Crossed out, Altered and Added. In the analysis section these have been presented in each section of the film. Main results: Catch me if you can is definetly a film made with the design of the Anglo- saxon model, mostly because of its timestructure and that it portrays an action and not just a condition which is normal in the epic-lyric model. Big parts of the story have been crossed out, altered and added to make the film more acceptabel to the audience. Most of the changes had been done to make the story shorter to fit the timeframe of a film. Events had been joined together to save time but not miss anything. A character, Hanratty, has been reinforced to create a cat-and-mouse story and add excitement to the film. Other changes have been made to make the main character seem more likeable to the audience. Keywords: book, film, dramaturgy, Catch me if you can , anglo-saxon, epic-lyric 2 Majlinda Juniku Uppsala Universitet Medie- och kommunikationsvetenskap C Ht 2007 Förord Att skriva uppsats är ett arbete som kräver tid och ork, speciellt när det känns att man egentligen ska ha lov. Jag vill tacka Bujar, min pappa och min övriga familj för inspirationen de gett mig och att de gav mig modet och tiden att fortsätta jobba på. Jag vill ge ett speciellt tack till mina systrar, Sara och Göran som har orkat gå igenom min uppsats och korrekturläsa den. Vad gäller mitt uppsatsämne anser jag att det idag skrivs alldeles för få uppsatser om film inom medie- och kommunikationsvetenskap. Jag hoppas min är bara början på ännu fler i framtiden. 3 Majlinda Juniku Uppsala Universitet Medie- och kommunikationsvetenskap C Ht 2007 Sammanfattning Syftet med denna uppsats var dels att bedöma vilken dramaturgimodell som filmen Catch me if you can tillhörde och dels att undersöka vad som hade strukits, ändrats eller tillagts när boken blev till film för att filmen skulle passa in i den dramaturgiska modell den tillhör. Resultatet på den första frågeställningen blev att Catch me if you can tillhör den anglosaxiska dramaturgimodellen, främst på grund av dessa orsaker: • Det finns en klar och tydlig handling som är det väsentliga i filmen. • Den är en amerikansk film med en storbudget. • Händelserna pågår i en snabb rytm. • Nästan allt sker i kronologisk ordning. • Den har en klar början, mitt och slut. Det visade sig även att mycket förändras när bok blir till film. Det mesta har verkställts för att göra filmen mer acceptabel för publiken. De flesta av ändringar har gjorts för att få berättelsen att passa in i den tidsramen som en film har. Händelser har slagits ihop främst för att spara tid, men försök har gjorts för att inte missa de mest väsentligaste företeelserna. En av de största skillnaderna är att karaktären Hanratty har tilldelats en större roll i film än i boken. Detta har möjligen gjorts för att förstärka en katt-och-råtta lek som pågår mellan honom och filmens huvudperson Frank. Franks fader har också fått större betydelse i filmen för att förstärka deras relation och intrycket av Frank som ett ensamt barn. Många fler ändringar förefaller ha införts speciellt för att få huvudrollsinnehavaren att bli mer omtyckt av publiken. 4 Majlinda Juniku Uppsala Universitet Medie- och kommunikationsvetenskap C Ht 2007 Innehållsförteckning 1. Inledning................................................................................................................................. 7 2. Syfte och frågeställningar....................................................................................................... 8 2.1. Problemformulering ........................................................................................................ 8 2.2. Syfte ................................................................................................................................ 8 2.3. Frågeställning.................................................................................................................. 9 2.4. Avgränsningar och urval ................................................................................................. 9 2.5. Disposition ...................................................................................................................... 9 3. Tidigare forskning................................................................................................................ 10 4. Bakgrund och Material......................................................................................................... 12 4.1. Filmens början............................................................................................................... 12 4.2. Början på filmens förhållande till boken....................................................................... 12 4.3. Catch me if you can ....................................................................................................... 13 4.3.1. Filmen..................................................................................................................... 13 4.3.2. Boken ..................................................................................................................... 14 5. Teori ..................................................................................................................................... 15 5.1. Narrativiteten................................................................................................................. 15 5.2. Dramaturgiska modeller................................................................................................ 15 5.2.1. Den anglosaxiska dramaturgin............................................................................... 16 5.2.2. Den episklyriska dramaturgin ................................................................................ 18 6. Metod ................................................................................................................................... 20 6.1. Val av film..................................................................................................................... 20 6.2. Bok till film eller film till bok? ..................................................................................... 20 6.3. Analysgenomförandet ................................................................................................... 20 6.4. Validitet och reliabilitet................................................................................................. 21 7. Empiri................................................................................................................................... 23 7.1. Filmen............................................................................................................................ 23 7.2. Boken ............................................................................................................................ 27 8. Resultat och Analys.............................................................................................................. 32 8.1. Vilken dramaturgimodell tillhör filmen Catch me if you can ? ..................................... 32 5 Majlinda Juniku Uppsala Universitet Medie- och kommunikationsvetenskap C Ht 2007 8.2. Vad har strukits, ändrats eller tillagts när boken blev till film för att berättelsen ska passa in i denna dramaturgimodell?..................................................................................... 33 8.2.1. Anslaget.................................................................................................................. 33 8.2.2. Fördjupning och upptrappning............................................................................... 36 8.2.3. Klimax.................................................................................................................... 37 8.2.4. Nedtrappning och konfliktlösning.......................................................................... 38 8.2.5. Konklusion och avslutning..................................................................................... 38 8.3. Sammanfattande analys................................................................................................. 39 8.3.1. Sammanfattning av strykningar, ändringar och tillägg .......................................... 39 8.3.2. Berättelsen och de dramaturgiska modellerna ....................................................... 40 9. Slutsatser och diskussion.....................................................................................................
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